Toronto Fringe: Art, longing & acceptance in the poetic, heart-wrenching, gender-bending The Bird Killer

Clockwise, from bottom left: Emerjade Simms, Tymika Tafari, Subhash Santosh, Mo Zeighami, Evan Mackenzie & Mike Ricci. Photo by Patrick J. Horan.

 

LET ME IN presents Justine Christensen’s poetic, heart-wrenching modern-day, gender-bending adaptation of Anton Chekhov’s The Seagull with its Toronto Fringe production of The Bird Killer, directed by Patrick J. Horan and running in the Tarragon Theatre Mainspace.

A group of artist friends grapple with the day-to-day challenges of artistic expression, and personal and professional fulfillment—all while maintaining their relationships and support network. Masha (Emerjade Simms) is a keen observer of her friends’ goings-on, and acts as a host/narrator when she’s not directly involved in a moment. Wearing black to mourn the state of her life, her sardonic sense of humour masks a broken heart: her unrequited love of the driven, tormented playwright Kostya (Mo Zeighami). Kostya is with the nervous emerging actor Nina (Even Mackenzie), who stars in her new contemporary theatre piece. Singer/songwriter Medvedenko (Mike Ricci, who also supplies original music for the production) is Kostya’s loyal, hard-working stage manager; and taken with Masha.

Kostya’s wise-cracking stand-up comic brother Arkadina (Subhash Santosh) brings his girlfriend, renowned playwright Trigorin (Tymika Tafari), to an invitation-only presentation of Kostya’s new work; setting off debates of artistry vs. celebrity, and changing the group dynamic. He’s unwittingly set in motion a significant ripple within the group—and things will never be the same.

Beautiful, moving work from the ensemble with a piece that cuts close to home for all artists. Each character longs for love and professional artistic fulfillment, but finds it difficult to achieve satisfaction. Does acknowledgement and accolades make one artist’s work more important than another’s? How does an artist navigate authenticity vs. marketability? And, most importantly, how does an artist accept him/herself?

The Bird Killer continues in the Tarragon Mainspace, with two more performances: tonight (July 13) at 9:15 pm and July 15 at 3:30 pm.

Want to check if the show you want to see is sold out? The Toronto Fringe folks have set up a page for sold-out shows, updated daily.

 

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Toronto Fringe NSTF: Deeply moving, interwoven look at the faces of loss & coping in Piece by Piece

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Mary Francis Moore & Virgilia Griffith in Piece by Piece

The loss of a loved one – to death, cognitive illness or break-up – is hard on everyone, especially on those who are left behind.

The McGuffin Company explores loss and coping in Alison Lawrence’s Piece by Piece, directed by David Ferry and running at the Factory Theatre Mainspace as part of the Next Stage Theatre Festival.

The play is anchored by Steffi (Virgilia Griffith), a teen who has recently lost her mother to illness and her grief-stricken father Bert (Brian Young) to alcohol. Finding herself unable to return to school, Steffi returns daily to the ICU where her mother died – and this is where the interwoven stories of the play converge: Frank (Terrence Bryant), a professor who’s lost his mind to Alzheimer’s, and his wife Barb (Linda Goranson), who’s at her wit’s end looking after her changed husband; and geriatric specialist John (John Cleland), on Frank’s health care team, who’s dealing with a loss of his own – his wife Jessie’s (Mary Francis Moore) multiple miscarriages and behavioural changes, and the subsequent distance between them.

The ensemble does a remarkable job navigating the complex character relationships and responses as the stages of grief play out in various scenarios – with simmering rage, biting anger, dark humour and inconsolable tears – and revelations for each other and for themselves emerge.

Griffith is outstanding as Steffi, a smart-ass kid who’s wise beyond her years, her tough guy exterior masking the heartbroken child beneath – and her frank, often irreverent and humourous, monologues carry the audience through the process from her point of view and add context to the scenes that follow. Young does a nice job as her pathetically self-involved father Bert, who you can’t help but feel bad for as he stumbles around within his grief, even as he ignores his daughter while finding solace at the bottom of a tall boy. Bryant brings a lovely fragile quality to Frank, a once highly articulate and intelligent man whose mind has lost its way; and Goranson captures the complex layers of an exhausted wife struggling with her own frustration and pain as she tries to cope with his deteriorating condition – losing a beloved husband of 47 years before her eyes while he’s still alive. No doormat, Barb has chutzpah, but must come to the realization that she can’t function alone in this. Moore is edgy, raw and heartbreaking as Jessie, who distracts herself with the tragedies of others to avoid living in her own; and Cleland’s John is nicely understated as her supportive and struggling husband, spending as much time and energy trying to get Jessie to confront her mental health issues as he does on quashing his own anger and sense of futility.

Beyond the personal experience of coping with the loss of a loved one, Piece by Piece is about how those who are left behind lose themselves in the process – bit by bit, they change and nothing will ever be the same. It’s about finding support and community in order to move on. Each feels alone in his/her pain, but they can’t – and must not – get through it alone.

Piece by Piece is a deeply moving, interwoven look at the many faces of loss and coping.

Piece by Piece runs until Sun, Jan 18 – you can book tix ahead online.